22/04/2015

"The Right Path"




Hi Capricorn,

You've been heading down the home stretch for weeks, now look for a big sign welcoming you to your destination -- it could be a social invitation, a pay raise or merely a smile that indicates that you've broken through someone's tough shell. 

You're absolutely on the right path, and the crowds are cheering you on -- listen a bit harder, and you can hear them. 

Support is all around you -- it's payback for all the times you've been there for the people you love...

Karma is on your side today.


21/04/2015

Armenia / Turkey on my mind - 1915 / 2015



Just sharing a few meetings, events, and this report from my fantastic friend Achren Verdian:


Diffusion sur FRANCE 24 du 18 au 25 avril.
Achren Verdian & Johan Bodin
Journalistes FRANCE 24


Jours et horaires de diffusion:
- 18/04: 22h10
- 19/04: 4h10, 12h10, 18h10
- 20/04: 2h40, 12h40
- 21/04: 16h45
- 23/04: 2h15, 10h10
- 24/04: 11h15
- 25/04: 14h10

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Hrant Dink Foundation
Panel: 
DANGEROUS SPEECH/HATE SPEECH & MEDIA PLURALISM

 Date: Tuesday, April 28, 2015
from 18.30 to 20.30

Venue: Havak Hall, Hrant Dink Foundation Anarad Hığutyun Building
 
Hrant Dink Foundation invites you to the panel entitled “Dangerous Speech/Hate Speech & Media Pluralism” on Tuesday, April 28, 2015.

Susan Benesch from Berkman Center for Internet & Society at Harvard University, and Dr. Elda Brogi who is the Scientific Coordinator of the European University Institute’s Centre for Media Pluralism and Media Freedom will talk on dangerous speech, hate speech, media pluralism, and the challenges faced by their institutions/projects. Prof. Dr. Fuat Keyman from Sabancı University and Istanbul Policy Center will moderate the panel.

 
The Hrant Dink Foundation is carrying out the Media Watch on Hate Speech project since 2009 with the aim of combating racist and discriminatory discourse in the media through awareness-raising activities. Until now, our activities have consisted of organizing international conferences and workshops with scholars and journalists; monitoring the printed press in order to expose hate speech and discriminatory discourse in media through periodical reports, the project website www.nefretsoylemi.org, and our social media accounts; and sharing our works with NGOs, universities, newspaper editors, journalists, and various other institutions.

The decision to initiate some fundamental steps towards establishing a Hate Speech Laboratory/Research Center under the roof of the Hrant Dink Foundation was taken in January 2014. Sponsored by the Open Society Foundation and the Istanbul Policy Center (Sabancı University-Stiftung Mercator Initiative), the Hate Speech Laboratory/Research Center Project began in September 2014 in order to design the structure of the laboratory, and develop possible projects that can be run in and through such a laboratory/research center. Through the ideas and suggestions that will be collected during the three roundtable meetings we will hold until June 2015, the structure of the laboratory will be designed, and an action plan will be prepared to initiate and coordinate its establishment in the near future.

Elda Brogi and Susan Benesch will be in Istanbul with us in April 2015 in order to contribute to the establishment of the Hate Speech Laboratory/Research Center. The panel will be held on Tuesday, April 28, 2015 from 18.30 to 20.30 at the Hrant Dink Foundation Anarad Hığutyun Building’s Havak Hall.

We would be honored to have your presence.

Simultaneous translation to Turkish will be provided.

ELDA BROGI is the Scientific Coordinator of European University Institute's Center for Media Pluralism and Media Freedom. Elda’s main interests span Constitutional, European and Media law. She teaches Information and Communication Law at the University of Florence, and previously taught at the University of Macerata. Elda has worked as a Parliamentary Assistant at the European and Italian Parliaments, and as research fellow at the Universities of Florence (Media Integration and Communication Centre) and Perugia. She has participated in many European and Italian research projects covering her main topics of interest. At the University of Florence, she was the coordinator of the project "Support to the reform of Serbian Media Legislation towards EU standards and strengthening of legal and technical skills of media professionals” (CARDS) and recently she has been working in the Mediadem project at the Law Department of the EUI.
She holds a degree in Law (University of Florence), a Ph.D. in Public Law and Constitutional Law (University La Sapienza, Rome) and is an Italian qualified lawyer. She is a member of the Committee of Experts on Protection of Journalism and Safety of Journalists at the Council of Europe.

SUSAN BENESCH founded the Dangerous Speech Project, to find ways of diminishing inflammatory speech – and its capacity to inspire violence - while protecting freedom of expression. She has developed a framework to estimate the dangerousness of speech in context, and has tested ways to help audiences to resist dangerous speech, especially in Kenya. While at Berkman, she carries out a new project to test the effectiveness of anti-hatred efforts online. Her relevant work is described atvoicesthatpoison.wordpress.com anddangerousspeech.org.
Susan teaches international human rights at American University's School of International Service. She also currently serves as the Everett Fellow in Genocide Prevention at the US Holocaust Memorial Museum. In the past she has worked at the Center for Justice and Accountability, Amnesty International, Human Rights First, and at the war crimes tribunal for the former Yugoslavia (ICTY).
Before studying law at Yale, Susan was chief staff writer for the Miami Herald in Haiti, and Latin America correspondent for the St. Petersburg Times. She covered wars in El Salvador, Nicaragua, and Guatemala, invasions in Panama and Haiti, and also wrote for a variety of magazines and websites.
 


Paris - Bristol: My interview with Tricky




Tricky - Reportage lors de son dernier concert à Paris







Extrait de mon Reportage avec le Kid de Bristol, Tricky, lors de son dernier concert à Paris, au Bataclan, fin février 2015 (voxpop + Itw + Voxpop) - écoutez ici : 


https://soundcloud.com/melissa-chemam/tricky-extrait-de-reportage-lors-de-son-dernier-concert-a-paris




Photos: Melissa Chemam



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Mon article :


[INTERVIEW] L’ENFANT DE BRISTOL TRICKY RETROUVE PARIS AVANT DE S’ENVOLER POUR BERLIN

23 février 2015 Par
Melissa Chemam

Tricky était de retour à Paris vendredi, au Bataclan, dans le cadre de la tournée européenne suivant la sortie de son album « Adrian Thaws », de son vrai nom. Un album de la maturité pour l’artiste qui se dit plus serein, est revenu sur les traces de ses jeunes années à Bristol et va notamment enregistrer avec DJ Milo qu’il a connu à la fin des années 1990 avec le Wild Bunch devenu Massive Attack. Rencontre.


Il se dit plus épanoui, apaisé, et plus libre aussi, car il est à la tête de son propre label, False Idols, basé à Londres, comme lui. Après avoir vécu des années à Paris, puis à New York, Tricky est rentré en Angleterre et cela lui va bien.
Le « Tricky Kid » de Bristol, qui a la réputation de détester les interviews, a mis en pratique sa nouvelle sagesse, semble-t-il. Rendez-vous au bataclan, Paris 11ème, et la star s’installe à la terrasse du café malgré la pluie et le trafic d’enfer. Il sort une cigarette, commande du miel à mettre dans son café et sympathise avec un fan qui lui montre les tatouages qu’il a sur son bras en hommage : « Tricky = Adrian Thaws », et un peu plus loin, « Robert Del Naja » aka 3D et « Massive Attack ». Pourtant, si le groupe devenu légendaire de Bristol a lancé Tricky avec une collaboration inoubliable sur leur premier album ‘Blue Lines’, Tricky n’aime pas parler de ses anciens meilleurs amis. « Quand je vais à Bristol, je retourne dans mon quartier, Knowle West (au sud-est de Bristol, ndlr), mais je ne vois pas Massive Attack, non ». Le Kid turbulent de l’une des villes les plus créatives d’Angleterre a pourtant longtemps été colocataire avec 3D et a même enregistré deux morceaux avec lui à Paris, en 2013, dont les fans attendent avec impatience de savoir lequel des deux va le sortir sur son prochain album…
Bête de scène

Enthousiaste, souriant, détendu, Tricky se prête au jeu de l’interview et reconnaît que ce dernier album lui a permis de revenir sur lui-même. D’ailleurs il porte son nom, Adrian Thaws, comme son premier disque portait celui de sa mère, Maxinquaye, qu’il a perdu tout jeune enfant.
« J’ai fait un tour complet. A mes débuts, j’avais une totale liberté, et mon premier album portait le nom de ma mère, Maxinquaye. Elle a donné naissance à Adrian Thaws, et voilà je suis là de nouveau. Et je me sens mieux. J’ai mon propre label. Sur mon premier disque j’ai travaillé avec Island Records et Chris Blackwell et dès le début ils me laissaient faire ce que je voulais, ce n’était pas un commerce. Mais quand je l’ai quitté les choses ont changé ; je dois gérer des gens qui veulent vendre des disques et ça ce n’est pas mon travail, moi mon travail est de faire un album. Aujourd’hui, je pense qu’avec mon propre label, je n’ai plus de pression. Si je suis diffusé à la radio, tant mieux, mais sinon, je fais quand même ce que je veux ».
Même s’il a la réputation d’être difficile sur scène, il dit toujours adorer les tournées. Il aime produire ses albums rapidement – petite pique aux meilleurs ennemis de Massive Attack qui ont pris jusqu’à 6 ans de travail entre deux albums ou encore Portishead, également de Bristol, qui n’ont produit que trois disques en 25 ans.
« La scène pour moi c’est comme un match de boxe, par exemple quand un type dans le public me demande ’plus !’ ou ‘encore !’, ça me donne envie de ne rien faire ; si on me demande de faire quelque chose, cela me donne envie de faire le contraire. Je déteste qu’on me dise ce que je dois faire. Donc la scène est un défi, elle demande de la discipline. Etre en tournée, c’est un test, et c’est bien, comme on doit voyager dans plusieurs villes, il faut apprendre à y survivre ; et cela vous fait voir de nombreuses choses, des cultures différentes, et c’est différent de voir comme les gens sont différents, c’est très intéressant ».
Paris, « second home »

Paris c’est aussi un choix particulier pour achever cette tournée, car l’artiste y a été en résidence au 104 et y a vécu pendant plus de 5 ans.
« Paris, c’est un deuxième chez moi. Je suis en tournée depuis 4 semaines, partout, je me suis senti étranger, mais ici c’est comme chez moi. J’ai vécu ici, si je cherche une chose, je sais où la trouver. Ce que j’aime ? C’est un peu chaotique, et il y a toutes ces cultures différentes, arabes, africaines, et on peut aller d’un quartier à un autre et tout change. J’ai vécu dans plusieurs quartiers mais j’ai adoré la rue La Chapelle : avec son mélange de cultures, et cette vibration. Le 19ème est aussi un chouette quartier, j’y ai rencontré plein de jeunes du quartier, où toutes ces cultures fusionnent. Bien sûr, la vie noctambule parisienne est devenue très ennuyeuse mais pour rester s’asseoir, prendre un café, regarder les gens, j’adore observer les gens, alors Paris est le lieu idéal ».
A Bristol en tout cas, Tricky est loin d’être oublié. Les plus jeunes musiciens comme Kahn et son collectif de DJs Young Echo disent avoir grandi en l’écoutant, tout comme Massive Attack, et ces derniers n’ont que des mots tendres pour parler de leur ancien compagnon de studio et de bons souvenirs.
Le Bataclan est pour ses fans une petite salle qui donne l’occasion de voir Tricky dans l’intimité. La salle s’est en tout cas vite remplie dès 19h30, et des fidèles de trois générations espéraient voir le musicien au mieux de sa forme. Certes, il n’est pas venu à Paris depuis longtemps mais a aussi la réputation de ne pas toujours beaucoup donner sur scène. Enfin, cela dépend des concerts, disent certains. Mais ce vendredi soir, ils n’ont pas été déçus.

Les fans ne sont donc pas déçus, loin de là, même si le concert s’est en grande partie déroulé… dans le noir. Un jeu d’ombres et de lumières qui ressemble parfaitement à Tricky !

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London Calling: D-10 - Art


 In Geneva, returning to Bristol tomorrow, in London in ten days.

A few rendez-vous:


I call it my favourite place on earth:


Victoria and Albert Museum

The world’s greatest museum of art and design

Opening times

10.00 to 17.45 daily
10.00 to 22.00 Fridays

Presents

http://www.vam.ac.uk/content/exhibitions/all-of-this-belongs-to-you/

All of This Belongs to You - About the Exhibition

1 April – 19 July 2015


'All of This Belongs to You' Neon Invitation by Neon Circus 2015

'All of This Belongs to You' Neon Invitation by Neon Circus 2015


At a time when Britain will be engaged in the democratic process of an election, the V&A will examine the role of public institutions in contemporary life and what it means to be responsible for a national collection. 
A series of specially commissioned interventions around the Museum will raise questions about the opportunities, obligations and limits to participation in this national institution. The exhibition will act as a laboratory for public life and explore the role of design and architecture in defining civic identity, technology, security, citizenship, democracy, the public realm and urban experience. 
On display:

Jorge Otero-Pailos

New York-based artist and architectural preservationist Jorge Otero-Pailos’s installation The Ethics of Dust: Trajan’s Column interacts with the largest object in the Museum. Using conservation latex, Otero-Pailos cleaned the hollow inside of the cast of Trajan’s Column, removing dust and dirt accumulated over decades in this usually unseen space. The result is giant latex ‘cast of a cast’ that is exhibited adjacent to the original, revealing the passage of time, and highlighting the Museum’s duty of care to the public collection.
For more information about Jorge’s work click here www.oteropailos.com/


'The Ethics of Dust' Installation by Jorge Oter-Palios, 2015
'The Ethics of Dust' Installation by Jorge Oter-Palios, 2015

muf architecture/art

London-based practice muf architecture’s project titled More than one (fragile) thing at a time takes place within the Medieval and Renaissance galleries. This area of the Museum was originally designed as an archetypal public space, with daylight, sculptures of standing figures, and a fountain. muf’s installation will host a series of activities, all provoked by the existing contents of the gallery and the afterlife of the places those objects came from.
For more information on their work click here www.muf.co.uk/


More than one (fragile) thing at a time by muf architecture, 2015
More than one (fragile) thing at a time by muf architecture, 2015


Natalie Jeremijenko

Natalie Jeremijenko is an engineer, educator and ecologist, her work explores the larger natural contexts we exist within - from atmospheres to animals. Natalie’s created three related pieces under the title Re Public of Air, each considering the Museum within the wider ecology of the city. A Phenological Clock in the grand entrance will depict 12 months in the life-cycle of the flowering plants and pollinating insects that surround the V&A, Ag Bags on the low walls at the front of the museum will introduce plant life to the stone architecture, and a Moth Cinema will create a habitat for insects, celebrating their critical role in our daily lives.
For more information about her work click here www.nataliejeremijenko.com/


Phenological Clock by Natalie Jeremijenko, 2015
Phenological Clock by Natalie Jeremijenko, 2015

James Bridle

James Bridle’s installation Five Eyes takes its name from the alliance of major global intelligence powers. Using an algorithm of the sort employed by these agencies, objects have been automatically selected from an analysis of the Museum collection’s 1.4 million digital records. The resulting displays incorporate the Museum's archive files to create networks of objects that reveal the history and present state of surveillance and state power.
For more information on his work click here

Five Eyes by James Bridle, 2015
Five Eyes by James Bridle, 2015

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All of This Belongs to You: 

Visitor Information

Throughout the Museum
Admission: Free

Exhibition opening times

1 April – 19 July 2015
Daily 10.00–17.30
Friday 10.00–21.30

Late night opening

The V&A is open late every Friday. Take this opportunity to visit All of This Belongs to You. Meet friends and have a drink in our café-bar
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Also at the V&A this month:

Alexander McQueen: Savage Beauty



14 March – 2 August 2015. The V&A is delighted to announce that it will present Alexander McQueen: Savage Beauty in London in spring 2015. The first and largest retrospective of the late designer’s work to be presented in Europe, the exhibition will showcase McQueen’s visionary body of work.

Visit the V&A exhibition Alexander McQueen: Savage Beauty

Prices

£17.60 Full, including donation* (+£1.50 booking fee per ticket)
£16.50 Senior citizens, including donation* (+£1.50 booking fee per ticket)
£16 Full (+£1.50 booking fee per ticket)
£15 Senior citizens (+£1.40 booking fee per ticket)
£9 Full-time students, 12 - 17 year olds, ES40 holders, disabled people (+£1.20 booking fee per ticket)
£25 (+£3.10 booking fee per ticket) Family of one adult & two 12–17 year olds
£41 (+£3.40 booking fee per ticket) Family of two adults & two 12–17 year olds
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At the incomparable Tate Modern:


The EY Exhibition: Sonia Delaunay
Tate Modern: Exhibition
15 April – 9 August 2015
The Eyal Ofer Galleries, Level 3
Adult £16.00 (without donation £14.50)
Concession £14.00 (without donation £12.70)
Help Tate by including the voluntary donation to enable Gift Aid
No booking fee on this exhibition
Under 12s go free (up to four per parent or guardian). Family tickets available by telephone or in the gallery.
Link:
http://www.tate.org.uk/whats-on/tate-modern/exhibition/ey-exhibition-sonia-delaunay



Sonia Delaunay Electric Prisms 1913

Sonia Delaunay Electric Prisms 1913 Davis Museum at Wellesley College, Wellesley, MA, Gift of Mr. Theodore Racoosin
© Pracusa 2014083 



Sonia Delaunay (1885–1979) was a key figure in the Parisian avant-garde and became the European doyenne of abstract art.
Throughout the first half of the twentieth century, she celebrated the modern world of movement, technology and urban life, exploring new ideas about colour theory together with her husband Robert Delaunay.
This will be the first UK retrospective to assess the breadth of her vibrant artistic practice across a wide range of media. It will feature the groundbreaking paintings, textiles and clothes she made across a sixty-year career, as well as the results of her innovative collaborations with poets, choreographers and manufacturers, from Diaghilev to Liberty.
A knockout show
Adrian Searle, The Guardian

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More soon.




20/04/2015

SUIVEZ ICI NOTRE CONFERENCE SUR LES MIGRANTS ET L'EUROPE



Perceptions et perspectives 

des réfugiés 



Politics & Society / Human Rights· More event details ...
Mon Apr, 20 2015 1:00 PM BST — Mon Apr, 20 2015 3:00 PM BST

Live stream here: 

http://livestream.com/GvaPressClub/CIPADH2015


Perceptions et perspectives des réfugiés 

en Europe :


Quels droits pour les réfugiés des 

conflits en Afrique et au Moyen-Orient ?



Cette table ronde se propose de discuter des perceptions des réfugiés dans les pays d’accueil, étant donné l’importance des crises en Afrique et au Moyen-Orient qui interviennent à une période dominée par des questionnements sur le rôle de l’Europe. Cette rencontre débattra aussi du rôle des institutions politiques européennes et internationales dans cette crise. Enfin, cette table ronde se donne une double ambition : présenter les défis et les violations auxquels les réfugiés font face en arrivant sur le sol européen et réaffirmer leurs droits, tout en abordant les réformes possibles pour mieux les protéger. 

Plus d’informations sur : http://www.cipadh.org

19/04/2015

Europe's policy towards migrants - Must read: playwright Anders Lustgarten's article in the Guardian



Comment by playwright Anders Lustgarten in the Guardian about migration and Europe's policy towards migrants:

Anders Lustgarten is a London-based playwright whose work includes "Lampedusa", and "If You Don't Let Us Dream, We Won't Let You Sleep".

His play "Lampedusa" is currently on stage in London at the Soho Theatre:

http://www.sohotheatre.com/writers/writers/anders-lustgarten/

Anders Lustgarten was a finalist for the 2007 Verity Bargate Award with his play The Punishment Stories. On the back of this, he was selected for our year-long attachment programme through which he was commissioned to write A Day at the Racists. This play was produced at the Finborough Theatre.
Anders went on to win the inaugural Harold Pinter Playwright’s Award in 2011 for If You Don’t Let Us Dream We Won’t Let You Sleep . He is currently under commission to the Royal Court and the National Theatre among others.
Lampedusa, his new play, was a straight submission to Soho, who then approached long-time collaborators and co-producers High Tide. It opens here on 8 April.
Anders’s journey captures the progression made by Soho writers from Verity Bargate Award through to production.

Read his column in The Guardian:

Refugees don’t need our tears. They need us to stop making them refugees



http://www.theguardian.com/commentisfree/2015/apr/17/refugees-eu-policy-migrants-how-many-deaths?CMP=fb_gu


A dinghy packed with migrants off the Libyan coast

 A dinghy packed with migrants off the Libyan coast. ‘Five hundred people have already died this year; the figure for the equivalent period in 2014 was 15.' Photograph: Darrin Zammit Lupi/Reuters
Extract from the beginning:

These are the people we are allowing to die in the Mediterranean. The EU’s de facto policy is to let migrants drown to stop others coming. Last year nearly four thousand bodies were recovered from the Med. Those are just the ones we found. The total number of arrivals in Italy in 2014 went up over 300% from the year before, to more than 170,000. And the EU’s response, driven by the cruellest British government in living memory, was to cut the main rescue operation, Mare Nostrum.



Extract from the conclusion:

"Our past work in Somalia, Syria and Iraq means those nationalities are top of the migrant list.
Not all migration is caused by the west, of course. But let’s have a real conversation about the part that is. Let’s have a real conversation about our ageing demographic and the massive skills shortage here, what it means for overstretched public services if we let migrants in (we’d need to raise money to meet increased demand, and the clearest and fairest way is a rise in taxes on the rich), the ethics of taking the cream of the crop from poor countries. Migration is a complex subject. But let’s not be cowards and pretend the migrants will stop coming. Because they won’t. This will never stop".